Speaker, A Sense of Urgency: Artists as Leadership and the Architecture of Detention, SENCER (Science Education for New Civic Engagements & Responsibilities), Eugene Lang College for Liberal Arts, The New School, NY, NY, 4/5/2019.
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Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design conference, AMPS, Architecture_MPS; Altinbaş University Istanbul: 12-13 April, 2018
I presented my paper, Bringing People Together, Wong Kar-Wai & Hong Kong, at the Moving Images – Static Spaces: Architectures, Art, Media, Film, Digital Art and Design conference, AMPS, Architecture_MPS; Altinbaş University Istanbul: 12-13 April, 2018.
Abstract
In this essay I will focus on film and power and implications of the use of spaces and architecture in its production. I will do so by using Wong Kar-wai’s films because of his focus on the urban domain and how the Self becomes reinserted into the world.[1] Typically, in director Wong Kar-wai’s films stories are not only about where the characters are but also about “...how an urban setting shapes characters and makes them who they are...”. [2] I will also consider Guy Debord’s notion of the derive, activated in the 1960s, as Wong’s memories of Hong Kong were, to explore a shared dreaming of space.[3] Debord's notion of a shared dreaming of space is similar to Wong's focus on romantic love in that it acted as a guide in the urban domain in his films Chungking Express and In the Mood for Love.
[1] Leach. Neil. “Camouflage.” University of Southern California. YouTube. Video File. March 6, 2009. https://www.youtube.com/watch?v=deqv5as9Fsk.html.
[2] Haihong, Li. “Cinematic Hong Kong of Wong Kar-Wai.” PhD diss., University of Georgia, 2012.
[3] Nicolas Whybrow, Art and the City (London: IB Taurus & Co Ltd, 2011) 13.
In this essay I will focus on film and power and implications of the use of spaces and architecture in its production. I will do so by using Wong Kar-wai’s films because of his focus on the urban domain and how the Self becomes reinserted into the world.[1] Typically, in director Wong Kar-wai’s films stories are not only about where the characters are but also about “...how an urban setting shapes characters and makes them who they are...”. [2] I will also consider Guy Debord’s notion of the derive, activated in the 1960s, as Wong’s memories of Hong Kong were, to explore a shared dreaming of space.[3] Debord's notion of a shared dreaming of space is similar to Wong's focus on romantic love in that it acted as a guide in the urban domain in his films Chungking Express and In the Mood for Love.
[1] Leach. Neil. “Camouflage.” University of Southern California. YouTube. Video File. March 6, 2009. https://www.youtube.com/watch?v=deqv5as9Fsk.html.
[2] Haihong, Li. “Cinematic Hong Kong of Wong Kar-Wai.” PhD diss., University of Georgia, 2012.
[3] Nicolas Whybrow, Art and the City (London: IB Taurus & Co Ltd, 2011) 13.
Activated Surfaces, Spaces and Light: Installation Art and Architecture, panel at the AAANZ 2012 Conference, Together <> Apart, University of Sydney, Sydney, AU, July 12-14, 2012
I convened and presented, Activated Surfaces, Spaces and Light: Installation Art and Architecture, panel at The Art Association of Australia and New Zealand (AAANZ) 2012 Conference, Together <> Apart, University of Sydney, Sydney, AU, July 12-14, 2012. Panelists: William Feuerman, Office Feuerman & University of Technology, Sydney and Dr. Claudia Perren, Director of Bauhaus Dessau.
Activated Surfaces, Spaces and Light: Installation Art and Architecture focused on a broader practice in architecture that expressed our commitment to art and spatial practice and the
various ways surfaces are activated in architecture.
In William Feuerman's talk he presented ongoing research in both practice and academia, to demonstrate how perception, specifically defined as the relationship between eye and mind, becomes distorted by physiological changes. Claudia Perren's talk investigated activated Surfaces and Spaces in the work of Blu, Dan Graham and Jurgen Mayer H. It argued for a strong perceptive and cognitive relationship between art and architecture in the process of activation.
Lastly, in my presentation I analyzed the work of James Turrell and Jean Nouvel and the use of light and activation in art and architecture. The threshold was understood to be a portal for natural light to activate interior surfaces and building facades, translate and contemporize cultural motifs and screens aided by technology in design, and facilitate renewed experiences of sunlight and synthetic light.
Activated Surfaces, Spaces and Light: Installation Art and Architecture focused on a broader practice in architecture that expressed our commitment to art and spatial practice and the
various ways surfaces are activated in architecture.
In William Feuerman's talk he presented ongoing research in both practice and academia, to demonstrate how perception, specifically defined as the relationship between eye and mind, becomes distorted by physiological changes. Claudia Perren's talk investigated activated Surfaces and Spaces in the work of Blu, Dan Graham and Jurgen Mayer H. It argued for a strong perceptive and cognitive relationship between art and architecture in the process of activation.
Lastly, in my presentation I analyzed the work of James Turrell and Jean Nouvel and the use of light and activation in art and architecture. The threshold was understood to be a portal for natural light to activate interior surfaces and building facades, translate and contemporize cultural motifs and screens aided by technology in design, and facilitate renewed experiences of sunlight and synthetic light.
Copyright Kimberly Connerton 2015-2021